“Scroll down to the end of the article to listen to music.”

Introduction

There’s something profoundly moving about songs that touch on themes of faith, hope, and resilience. “Believe” by Brooks & Dunn is one such song that has left an indelible mark on listeners, resonating with its powerful message and heartfelt delivery. Whether you’re going through a tough time or simply reflecting on life’s challenges, “Believe” offers a comforting reminder that hope is never far away.

About The Composition

  • Title: Believe
  • Composer: Ronnie Dunn, Craig Wiseman
  • Premiere Date: October 2005
  • Album/Opus/Collection: Hillbilly Deluxe
  • Genre: Country, with gospel influences

Background

“Believe” was born out of the creative synergy between Ronnie Dunn and Craig Wiseman, two titans of country music. Released as part of Brooks & Dunn’s album Hillbilly Deluxe, the song quickly became a standout track, earning critical acclaim and widespread popularity. The song’s inception was deeply rooted in the personal experiences and reflections of its composers, particularly Dunn’s memories of his grandmother and her unwavering faith.

The song’s reception was overwhelmingly positive, with audiences and critics alike praising its emotional depth and spiritual message. It became more than just a country hit; it was a testament to the power of belief and the strength of the human spirit. Over time, “Believe” has solidified its place in the Brooks & Dunn repertoire, often considered one of their most impactful songs.

Musical Style

Musically, “Believe” blends traditional country elements with gospel influences, creating a sound that is both familiar and spiritually uplifting. The song is characterized by its simple yet powerful arrangement, featuring acoustic guitar, piano, and subtle strings that complement Dunn’s soulful vocals. The song’s structure is straightforward, but it’s the emotional delivery and the heartfelt lyrics that truly make it stand out.

The instrumentation is intentionally minimalistic, allowing the lyrics and the message to take center stage. This approach enhances the song’s impact, drawing listeners into the story and the emotions it conveys. The gospel choir in the background adds a layer of spiritual resonance, making “Believe” feel like a hymn of hope and perseverance.

Lyrics/Libretto

The lyrics of “Believe” tell a poignant story of an elderly man’s reflections on life, loss, and faith. Through the verses, we learn about the man’s experiences, including the profound loss of his wife and child, and how his faith has guided him through these difficult times. The chorus, with its repeated refrain of “I still believe,” serves as a powerful affirmation of hope and trust in something greater.

The themes of the song revolve around the ideas of resilience, faith, and the enduring human spirit. The narrative style of the lyrics, coupled with Dunn’s emotive delivery, creates a deeply moving experience for the listener, making “Believe” a song that resonates on both a personal and universal level.

Performance History

Since its release, “Believe” has been performed by Brooks & Dunn at numerous live events, often receiving standing ovations for its powerful message and emotional impact. Notably, the song won the Country Music Association Award for Single of the Year in 2006, cementing its place in country music history. Its live performances are often accompanied by a gospel choir, which enhances the song’s spiritual dimension and leaves audiences deeply moved.

Cultural Impact

“Believe” has transcended its initial release, becoming a song that is often referenced in discussions about faith and perseverance in country music. Its message has resonated with a broad audience, and it has been used in various media, including television shows and memorial services, where its themes of hope and resilience are particularly poignant.

The song’s influence extends beyond the realm of country music, touching listeners from all walks of life. It has become a cultural touchstone for those seeking comfort and inspiration in difficult times, illustrating the enduring power of music to heal and uplift.

Legacy

The legacy of “Believe” is one of hope and inspiration. Even years after its release, the song continues to be a source of comfort for many, its message as relevant today as it was when it first debuted. It stands as a testament to the power of belief, and its place in the Brooks & Dunn catalog is assured as one of their most beloved songs.

Conclusion

“Believe” is more than just a song; it’s a beacon of hope and a reminder of the strength of the human spirit. Its message is timeless, resonating with listeners across generations. Whether you’re discovering it for the first time or revisiting it after many years, “Believe” has a way of touching your heart and soul, encouraging you to hold on to faith, no matter what challenges life may bring

Video

Lyrics

Old man Wrigley lived in that white house
Down the street where I grew up
Momma used to send me over with things
We struck a friendship up
I spent a few long summers out on his old porch swing
Said he was in the war when in the navy
Lost his wife, lost his baby
Broke down and asked him one time
How ya keep from goin’ crazy
He said, “I’ll see my wife and son in just a little while”
I asked him what he meant
He looked at me and smiled, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life, than just what I can see
Oh I believe, hmm
Few years later I was off at college
Talkin’ to mom on the phone one night
Gettin’ all caught up on the gossip
The ins and outs of the small town life
She said, “Oh, by the way son
Old man Wrigley has died”
Later on that night, I laid there thinkin’ back
Thought about a couple long-lost summers
I didn’t know whether to cry or laugh
If there was ever anybody deserved a ticket to the other side
It’d be that sweet old man who looked me in the eye, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life than just what I can see
I can’t quote the book, the chapter or the verse
You can’t tell me it all ends in a slow ride in a hearse
You know I’m more and more convinced, the longer that I live
Yeah, this can’t be, no, this can’t be, no, this can’t be all there is
Lord, I raise my hands, bow my head
Oh, I’m findin’ more and more truth in the words written in red
They tell me that there’s more to this
Than just what I can see (just what I can see)
I believe
Oh, I, I believe
I believe
hmm
(I believe) I believe
(I believe) I believe (I believe)
(I believe) oh, I believe
(I believe, )
(I believe)
(I believe)

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THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

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